I think the distinction between the Production model and the Broadcast model is probably what you should be concerned with. The 2me Production model does not seem to have the upgrade option. From what I have read, the 2me Broadcast version is the same hardware as the 4me Broadcast, and just requires the update.

About the Atem 2ME vs 4ME. The 4ME broadcast was previously a 2ME broadcast until BMD came out with a FW upgrade that added the 4ME capability. This upgrade was only available for the original owners of a 2me broadcast 4K switcher which is the 12G-sdi version.

The 2me production 4K is a 6G-sdi mixer and does not have the power to run as a 4ME switcher. So you can not upgrade a 2ME production Studio 4K to a 4ME switcher.

Oh Careless of me .... Sorry I did`nt see the Production and Broadcast line up Thank you guys ...

On 4 ME Broadcast 4k, standards converted 12G-SDI inputs is not included as on Television Studio Pro 4K, will I have problem when using a consumer camcorder like Sony or Panasonic with 3G or 6G SDI, is there any issue so far with consumer camcorder ? I`d like to use BMSC 4k for compatibility with ATEM But problem with low light and lens choice is a problem for me

As with almost all Atems, All sources must be the same in framerate and resolution. Only the TVS 4K pro supports 8x SDI input with auto scaling function.

For all other Atems, Add a converter in between the source to make it happen.

For 12G it is difficult to get proper converters that will do 12G. Teranex AV and Express are 2. But they add a few frames delay.

I wish BMD would develop an small affordable UpDownCross 12G, Or 2me / 4me with auto scaling. BUT!! As broadcaster you do not want to have scaling on your sources.. At least you want to have control over it, instead of scalers that are always in line of the source.

What do you consider affordable? Lumantek has a VS4 switcher (4 input but you can make it 5) that has scaling on each input for around $1000. They are supposed to be releasing a 10 input version soon for $3000 but that is a similar price to the TVS 4k.

I wish the TVS 4k has an actual T-bar instead of a slider. That is my one desire.

Xtreemtec wrote:BUT!! As broadcaster you do not want to have scaling on your sources.. At least you want to have control over it, instead of scalers that are always in line of the source.

I'd rather have them inline and configurable than have to break my signal flow to insert them when required and then take them out. That could lead to further problem down the road.

With all the different formats that are sent our way these days having scalers available have become important.

I don't say i would not like it. I have a 4K obv and many setups we have struggles on how to input those other lines that aren't 4K yet. Or that 2 Micro Studio cameras that are only 6G.

Have 2 Teranex AV's in the truck. But latency can be an issue depending on what the source is and how it is used.

But the problem is that with the current TVS 4K Pro there is NO control at all over the scalers. You can not even see if they are engaged or not. Same with the Framebuffers. You sync all your cameras to Genlock. But you have no idea how much you have to set your ursa cams in front or after the sync pulse to get it dead on with the framebuffer. 2 lines can make the difference between right on time and a full frame on the buffer. And since the creation of the Atem. There has never been a way to see the status of the framebuffer or to see how much in sync it runs with the framebuffer. While this is info that the Atem knows. As it knows exactly how much lines it puts in the FIFO buffer for each camera to be in sync with eachother.

So based on those facts. I do not expect we will ever get control over those scalers inside the Atem. And so you may say they are always on.